When you take a West African rhythmic backbone, smuggle it back to a modest mountain city in North Carolina, and then mash it up with everything else in between, the result is Toubab Krewe. It then makes perfect sense that "toubab" is West African for "foreigner" and "krewe" serves as New Orleans's original spelling of the word "crew." The Ashville, N.C. based quintet has made multiple trips to West Africa - a region where songs have transcended generations without being recorded or written down - and has jammed with the area's finest musicians. Toubab's intense instrumentals explore these traditional numbers, adding muscle in the form of curiously gritty electric guitar phrases, all of which are perpetuated by a relentless wall of percussion.
The absence of vocals only strengthens the raw sentiments in guitarist Drew Heller's licks, who assumes the role of conductor as he weaves in and out of time signatures - gently gracing the upper registers but still unashamed to attack the low end with treble-laden howl. Constantly on the run, his style touches everything from psychedelic surf-rock to a vintage rock-and-roll twang. While the workman Heller relies on the use of only six strings, utility-man Justin Perkins tackles two behemoths: the first being the 12-stringed kamalengoni, and the second being the 21-stringed kora. Both instruments are native to West Africa and, when plucked, will resonate with a majestic harp-like tone, a perfect complement to Heller's already-soaring ride. Perkins also uses the two harp-lutes to get down and dirty, producing a surprisingly melodic scratching sound by simply applying some spit to the hand and then rubbing the strings violently.
While both Heller and Perkins float on the upper levels of Toubab Krewe's multi-textured sonic enigma, the rhythm section, comprised of the able tandem of Teal Brown on drums, David Pransky on electric bass, and Luke Quaranta on percussion, serves as the balancing force that keeps it all together. Toubab's live drum circles further raise the bar, showing little to no mercy for the limits of rhythmic expression.
Toubab Krewe's much anticipated follow up to their 2005 self-titled debut is expected in the coming months. In their three-year existence, they have built a devoted following and have performed at such festivals as Bonnaroo, Vegoose, and Langerado. Though their exploratory blend of musical traditions has been warmly welcomed by the jam-band faithful, Toubab Krewe's subtle complexities and jarring instrumental adventures will continue to prove that there are very few boundaries in modern music. As Toubab Krewe continues to evolve, it is likely that they will even unlock a few of their own traditions.
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